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RELIGIOUS ASPECTS From a religious aspect, Japanese aesthetic ideals are most heavily influenced by Buddhism .1 After the introduction of Western notions in Japan, however, these aesthetics ideals have been re-examined with Western values, by both Japanese and non-Japanese. Therefore, recent interpretations of the aesthetics ideals inevitably reflect Judeo-Christian perspectives and Western philosophy.2 Contrary to Western traditions, Japanese aesthetic ideals do not have a concept of the Creator (the Judeo-Christian God ). Gods (in Shinto ) and Buddhas (in Buddhism) are not creators of the world or nature. Rather, nature is seen as an individual entity that is to be admired and appreciated. The appreciation of nature has been fundamental to many Japanese aesthetic ideals, "arts," and other cultural elements.3 In this respect, the notion of " Art " (or its conceptual equivalent) is also quite different from Western tradition. Japanese art does not rigorously conquer nature, but instead, it aims to incorporate nature, and to be incorporated into nature. WABI-SABI Main article: ''Wabi-sabi'' refers to the Japanese aesthetic centered on the acceptance of transience. This view, which is rooted in Buddhist ideals, particularly values imperfection and incompleteness, and considers these qualities to be beautiful.4 IKI Main article: The phrase ''iki'' is generally used in Japanese culture to describe qualities that are aesthetically appealing. While similar to ''wabi-sabi'' in that it disregards perfection, ''iki'' is a broad term that encompasses various characteristics.5 GEIDō Geidō refers to traditional Japanese "arts." Some are Kado (Japanese flower arrangement), Shodo (Japanese calligraphy), Sado (Japanese tea ceremony), and Yakimono (pottery). YūGEN In theatre, this refers to Zeami’s interpretation of “refined elegance” in the performance of Noh. Also extended to mean “a profound, mysterious sense of the beauty of the universe… and the sad beauty of human suffering” (Ortolani, 325). Ortolani, Benito. The Japanese Theatre. Princeton University Press: Princeton, 1995. SEE ALSO REFERENCES |
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